Matthias Kaiser – Faceted Platinum Vase – Small
360,00 €
incl. VAT plus Shipping Costs
This vase has been wheel thrown from a very short clay (containing a high amount of quartz) and faceted with a wire before becoming leather hard. This particular type of clay has been in use since the Kingdom of Noricum, even before the Roman empire ruled Austria.
The deposit is now in the province of Burgenland, but had fallen into neglect. Matthias Kaiser revived it, digging the clay and refining it at his studio.The clay contains a lot of iron ore that was also used since the iron age because it is particularly easy to mine at this site. Iron tools and weapons made from it were exported as far as Italy.
Kaiser uses the clay in totally unaltered state, extracting only large size iron ore lumps and adding nothing at all. The vase has been fired three times, first there is a bisque firing at 950°C and subsequently a glaze is applied and it is fired a second time, at 1250°C.
The glaze he used here has a feldspar/reed ash/wood ash base and contains a high percentage of metallic oxides, giving it a surface that is matt or glossy, depending on the thickness of application, and has a wrinkled texture.
Then a platinum overglaze is applied with a small brush. It contains the actual precious metal. Finally the piece is fired for a third time, at 750°C.
Dimensions approx.: H13,5cm x ø6cm
Hand-wash recommended!
Available in a larger version here: https://voltavienna.com/shop/matthias-kaiser-faceted-platinum-vase-medium/
Delivery time: 3-7 DAYS
In stock
Description
Matthias Kaiser – Faceted Platinum Vase – Small
Matthias Kaiser studied at Parsons School of Design in NY and at Vienna’s
University of Applied Arts, apprenticed with two Japanese
master potters in Seto and Karatsu, spent a combined 2 years
travelling on the Indian subcontinent and, for a period of
13 years, he was the akhavan of an Iranian dervish.
His vocation remains: to make pots.
He focuses on the inherent qualities of the material and the
succession of steps that constitute the process of creation,
trying to reveal, not hide, what is there and has been done,
and to give respite from the world of contrived concepts and
passing excitement.
He has always had an affinity to mystery and obsession. The alchemical transformation of earth into stone and glass is full of uncertainties and a never-ending source of amazement.
By subtracting industrial processes as far as possible from the refinement of the raw materials and totally from manufacture, the finished pieces retain a heterogeneous appearance. They are a sum of parts, with infinite possible combinations of shape and surface, texture and colour, weight and size. His pots contain more than a functional and decorative aspect; their poetry lies in the balance of intent and accident as well as in the interplay of physical attributes.
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